versión On-line ISSN 1851-4669

Resumen

This article expands a conjecture made by Aldo Oliva about Estela Figueroa's poetry stemming from his characterization of her poetics. This objective entails working at many levels. First, a definition is offered about the type of intervention in speech that makes of Figueroa's writing a signature, an object which is recognizable without the need of a name to identify it. Second, some thematic recurrances are pointed out: the obsessions that haunt her work intersect with the analysis of her rhetorical procedures which disclose decisions that contribute to state that her poetry is founded on a "poetics of despoilment". Finally, her "poetics of sending" is described: her writing recollects the voice of the poets she respects, and also contributes to put her name beside theirs, building for herself a place next to those she invokes as she invites us to read their works. Aiming at the intersection of these two levels, we try to make it evident that Figueroa's writing definitely inscribes her in the "new Argentinean poetry", a form of art which reinterrogates what poetry can do, what it knows and does as it says.